The Matrix: Resurrection
by Rohan2
Summary: Set about one year after VERSION 7. Antigone discovers a way to resurrect all of the past Ones before her. In the real world, things are getting ugly between man and machine once again. (SCREENPLAY FORMAT)
1. A Message

OPEN: EXT-CITY STREETS, NIGHT: Rain pours hard down on the deserted cityscape. A woman walks down the middle of the street, she is wearing a long, red coat. Her hair is braided down to the small of her back. She wears a pair of dark sunglasses. This is ANTIGONE. She continues to walk. She stops and looks down the street. A man, sihlouetted against the street lights blocks her way. He is a tall figure wearing a long, black coat and has short black hair. Antigone steps closer. The man enters the light. He has a calm face behind a pair of dark sunglasses. This is NEO. Antigone recognises him right away.  
  
ANTIGONE  
  
Why are you here?  
  
NEO  
  
To send you a message.  
  
ANTIGONE  
  
What message?  
  
NEO  
  
The One is suppoed to maintain the balance. You cannot do what you intend to do without destroying the human race.  
  
ANTIGONE  
  
The human race doesn't exist as long as it is trapped in The Matrix. Don't tell me what I can or can not do.  
  
NEO  
  
All I can say is that you must tread carefully. There are forces brewing in The Matrix that not even I would know how to contend with.  
  
ANTIGONE  
  
From what I know of you, you don't seem to know much about anything.  
  
NEO  
  
Then know this too, The Nemesis is the purest form of evil. You are the purest form of good. You were deigned that way, to maintain the balance.  
  
ANTIGONE  
  
I'm no "good" good guy. I'm a "bad" good guy. Bad good guys do what the good good guys can't.  
  
NEO  
  
Which is?  
  
ANTIGONE  
  
Everything.  
  
EXT-CITY STREETS: A woman's laughter fills the air. Neo and Antigone look around, they see nothing.  
  
VOICE  
  
Don't count on your race seeing the end of time. Count on seeing me in the near future. Good bye Mr. Anderson, Antigone.  
  
EXT-CITY STREETS: The rain begins to turn into the green code of The Matrix. The code rips apart all of the buildings around Antigone and Neo.  
  
CUT TO. INT-CABIN, DIONYSUS: Antigone wakes up in her cot. She is now wearing a tattered grey tank top and a pair of black pants. Her hair is down her back but greasy and unclean. She quickly gets out of her bed and leaves the room in her bare feet. 


	2. Waterfront Rescue

CUT TO. INT-CONTROL ROOM: A man is sitting behind a bank of computers. He has, on a table, a robotic hand. His left arm is missing. This is TURKISH, ship's operator. The phone on his computer rings. he quickly snatches up his arm and re-attaches it. He puts on a headset and presses a small yellow button.  
  
TURKISH  
  
Operator.  
  
MAN(V.O)  
  
We're ready to go.  
  
CUT TO. INT-CONTROL ROOM, MINUTES LATER: Turkish is standing behind a dentist's chair. He pulls a long plug out of a man's head. The man blinks his eyes a little then sits up. He is a tall, confident man of about 50 yrs. This is HEMMINGTON. Another man wakes on the other side of the room. He is a man in his early to mid 30's of an Oriental decent. This is WOO. He sits up and stares into the room. Hemmington does the same. Turkish looks at them both confused.  
  
TURKISH  
  
What?  
  
HEMMINGTON  
  
We found him.  
  
TURKISH  
  
No shit?  
  
WOO  
  
No.  
  
INT-CONTROL ROOM: Antigone walks in from a hatch on the other side of the room. Everybody goes silent.  
  
ANTIGONE  
  
What the hell are you boys up to?  
  
CUT TO. INT-MESS HALL, MINUTES LATER: The crew of four is sitting around a small metal table.  
  
HEMMINGTON  
  
The Oracle was right.  
  
WOO  
  
As usual.  
  
ANTIGONE  
  
I'm a little lost.  
  
HEMMINGTON  
  
Woo and I have been running a little operation under youor nose.  
  
ANTIGONE  
  
What "little operation"?  
  
HEMMINGTON  
  
Can't tell you.  
  
ANTIGONE  
  
Why?  
  
HEMMINGTON  
  
Need to know.  
  
ANTIGONE  
  
Well shit I need to know.  
  
TURKISH  
  
Not till Jules says so.  
  
ANTIGONE  
  
You knew?  
  
TURKISH  
  
It meant them going into The Matrix. Of course I knew.  
  
HEMMINGTON  
  
Don't worry about it. We get back to Atlantis, recharge, then we have a meeting about it.  
  
ANTIGONE  
  
A meeting about what?  
  
INT-MESS HALL: The men look to eachother, looking for signs saying "shut up!". They see no sign.  
  
HEMMINGTON  
  
Ending The Matrix.  
  
INT-MESS HALL: A small bell goes off. The crew stands. They look to eachother then leave.  
  
CUT TO. INT-CONTROL ROOM: The crew stans around Turkish while he works at his computer.  
  
ANTIGONE  
  
Where are they?  
  
TURKISH  
  
Deep shit, that's where.  
  
HEMMINGTON  
  
What ship?  
  
INT-CONTROL ROOM: Turkish brings up a list on another computer. He scrolls the list until he comes to a dead stop.  
  
TURKISH  
  
The Valhalla.  
  
HEMMINGTON  
  
Augustus you little shit.  
  
ANTIGONE  
  
What's up?  
  
HEMMINGTON  
  
That guy never knew when to quit. We're going in. Antigone, you've got point.  
  
CUT TO. INT-CONTROL ROOM, MINUTES LATER: Hemmington and Woo have been plugged in. Turkish lays Antigone down and aims the plug to her head. She looks up at him with a diry smile.  
  
TURKISH  
  
What?  
  
ANTIGONE  
  
You'll tell me what the big secret is even if I have to fuck the knowledge out of y...  
  
INT-CONTROL ROOM: Before she could finish, Turkish plugs her into The Matrix. He turns and heads towards his computers.  
  
TURKISH  
  
Go to work baby.  
  
CUT TO. INT-HOTEL ROOM, DAY, MATRIX: The room is old and decrepit. Woo, Hemmington and Antigone stand around a small table with an old, ringing, phone on it. Hemmington picks up the phone.  
  
HEMMINGTON  
  
We're in.  
  
TURKISH(V.O)  
  
Augustus and his team are trapped in a warehouse on the waterfront. They're pinned down by S.W.A.T guns.  
  
HEMMINGTON  
  
Any Agents?  
  
TURKISH(V.0)  
  
Not yet, but don't count em' out.  
  
HEMMINGTON  
  
Never do.  
  
INT-HOTEL ROOM: Hemmington hang up the phone. He turns around. Antigone is gone. Hemmington and Woo exchange looks.  
  
HEMMINGTON  
  
Why do we even show up?  
  
CUT TO. EXT-WAREHOUSE, DAY, MATRIX: A number of SWAT vans are parked outside. The sound of gunfire chatters away in the building. (CLOSE ON TWO SWAT CAPTAINS) They are standing with about a dozen SWAT lieutenents.  
  
CAPTAIN#1  
  
Don't take any chances! These assholes have more guns than the feds.  
  
EXT-WAREHOUSE: Three men in dark suits approach the SWAT teams. They each have an inhuman calm stareing at the world through a pair of dark sunglasses. From left to right are Agents BROWN, JOHNSON and THOMSON.  
  
BROWN  
  
We doubt that.  
  
CAPTAIN#2  
  
Who called you?!  
  
THOMSON  
  
Your firefight hasn't gone unnoticed.  
  
CAPTAIN#1  
  
Figured that.  
  
JOHNSON  
  
We are here to lend assistance.  
  
CAPTAIN#2  
  
We've got this well in hand!  
  
EXT-WAREHOUSE: There is a small explosion from inside the warehouse. Three SWAT members fly out. The Agents look to the Captains, Brown raises an eyebrow in doubt.  
  
CUT TO. INT-WAREHOUSE, DAY: Five people are crouched behind boxes and barrels. They are all nicely dressed in long coats and sunglasses. The man nearest to the back window is AUGUSTUS. He is wearing a jet black suit, black coat and red tie. He has in his hands a pair of Uzis. Beside him is RIDLEY. He has on a red suit, no tie. He is of the African American etinicity. He carries a grenade launcher and two pistols. He is also sporting a deep cut above his right eye. Beside Ridley is HELENA. Formally of Hemmington's crew. She is wearing a black tank top and a pair of black pants with combat boots. She is down to an M-16 machine gun. Beside her is DONNATELLO. He is decked out in a nice blue suit. He carries with him one assult rifle. Beside him is JORDAN. She is sporting a long black coat and red pantsuit underneith. She has with her a large shotgun. Bullets fly over their heads as their ammo runs low. Augustus finishes off one of his Uzis.   
  
Suddenly, all the shooting stops. Augustus signals the others to stay low while he peeks up. Agents Brown, Johnson and Thomson are walking towards them. Augustus ducks down.  
  
AUGUSTUS  
  
Agents.  
  
HELENA  
  
How many?  
  
AUGUSTUS  
  
Three.  
  
JORDAN  
  
What the hell are we gonna do now?  
  
RIDLEY  
  
Shoot em.  
  
DONNATELLO  
  
Waste of ammo.  
  
HELENA  
  
Did Nickoli get a signal out?  
  
AUGUSTUS  
  
We'll know soon enough.  
  
INT-WAREHOUSE: Augustus looks up. The Agents are gone. He looks back down to his crew and shakes his head. Suddenly, Brown grabs Augustus by the throat. The other members of the crew scatter. Johnson and Thomson try to corner them. Everybody suddenly looks up as the entire glass ceiling smashes.  
  
CUT TO. INT-WAREHOUSE, BULLET TIME: Antigone lands hard. She erects herself and grabs Brown. She throws him through a window.  
  
CUT TO. INT-WAREHOUSE, REAL TIME: Antigone looks at the other Agents as Brown flies through the window.  
  
ANTIGONE  
  
Doing something?  
  
INT-WAREHOUSE: The Agents move on Antigone, they begin to fight her to no avail. She blocks their kicks and punches like nothing was there. The SWAT teams outside begin shooting at Antigone.  
  
CUT TO. INT-WAREHOUSE, BULLET TIME: She throws Thomson into the bullets while she kicks Johnson through a wall.  
  
CUT TO. INT-WAREHOUSE, REAL TIME: Thomson is torn apart by the bullets. Antigone puts out her hand and the rest of the projectiles stop dead in mid-air. Antigone puts her hand down as the cops stop shooting. She smiles and kicks a barrel of an explosive chemical into the police. The teams scatter as the barrel explodes, unleashing a fury of fire. The police get out of the way before anyone is hurt. A short while later, they get to their feet and look into the warehouse through the smoke. Antigone and the rest of the Valhalla crew are gone. 


	3. Self Defence

Agent Johnson steps through the hole he made going out. Agent Brown walks in through a door atop a catwalk. Agent Thomson walks into the warehouse with the SWAT teams, stepping over the bullet ridden body of a beat cop. The Agents converge on the middle of the warehouse.  
  
JOHNSON  
  
The anomaly.  
  
BROWN  
  
Yes.  
  
THOMSON  
  
Procedure?  
  
JOHNSON  
  
Await the arrival of The Nemesis, she will handle the anomaly.  
  
INT-WAREHOUSE: The Agents leave through a crowd of confused SWAT officers.  
  
CUT TO. INT-HOTEL ROOM: The Valhalla crew is standing in the room with the Dionysus crew. Only Captains Hemmington and Augustus are sitting, they don't appear to be happy with eachother.  
  
AUGUSTUS  
  
We could have gotten out of that warehouse by ourselves.  
  
HEMMINGTON  
  
Yeah an looking like bloody swiss cheese too.  
  
ANTIGONE  
  
There's an image.  
  
INT-HOTEL ROOM: Antigone and Augustus exchange dirty looks. Augustus turns his attention back to Hemmington.  
  
HEMMINGTON  
  
What were you doing? You know procedure, do not enter The Matrix without informing the nearest ship.  
  
AUGUSTUS  
  
We tried hailing you, but there was too much noise.  
  
WOO  
  
From Zion?  
  
AUGUSTUS  
  
No, something from The Matrix got in and chewed up our comm protocals. We spent days fixing them. So then we went into The Matrix to see if you guys were there.  
  
ANTIGONE  
  
Why didn't you just do an incursion free scan?  
  
HELENA  
  
Squidiees.  
  
ANTIGONE  
  
You were under attack?  
  
RIDLEY  
  
While we were repairing. Knocked out main power.  
  
JORDAN  
  
Thank God for batteries. We set off our EMP right before they tore us apart.  
  
HEMMINGTON  
  
Where is the Valhalla?  
  
AUGUSTUS  
  
About 500 klicks from Atalantis.  
  
HEMMINGTON  
  
How many pads have you got left?  
  
AUGUSTUS  
  
Not many, we could use a boost.  
  
HEMMINGTON  
  
We'll be there.  
  
INT-HOTEL ROOM: The Captains stand. The crews disperse. Antigone is near to the door when her phone rings. She whips it out.  
  
CUT TO. INT-CONTROL ROOM, REAL WORLD: Turkish is staaring at the computers.  
  
TURKISH  
  
I don't know how they did it but you've been made.  
  
CUT TO. INT-HOTEL ROOM, DAY, MATRIX: The crews are standing, staring at Antigone.  
  
ANTIGONE  
  
How many? Thank you.  
  
INT-HOTEL ROOM: Antigone hangs up her phone. She turns to the crews.  
  
ANTIGONE  
  
Get out.  
  
CUT TO. EXT-HOTEL, DAY: The crews are filing down the fire escapes. They all get into waiting cars.  
  
AUGUSTUS  
  
Go're gonna give us that boost?  
  
HEMMINGTON  
  
Definitely.  
  
EXT-HOTEL: Augustus and Hemmington get into seperate cars. They drive off in different directions.  
  
CUT TO. INT-HOTEL ROOM, DAY: The door to the suite slowly opens. Agents Brown, Thomson, and Johnson enter. They scan the room. Brown picks up the nearby phone.  
  
(V.O)  
  
Mike's Carpet Cleaning. Hello? Hello?  
  
INT-HOTEL ROOM: The door slams shut. Antigone stands facing the Agents.  
  
ANTIGONE  
  
Well, I think the super would be a little pissed if he knew you were trying to do his job.  
  
INT-HOTEL ROOM: Brown hangs up the phone. The Agents converge on Antigone. She stands unafraid. She smiles mockingly.  
  
ANTIGONE  
  
This isn't your room.  
  
BROWN  
  
Our responsabilies lie elsewhere.  
  
INT-HOTEL ROOM: The Agents begin to make their way past Antigone. She watches them curiously. Antigone smiles as she puts out her foot. Johnson nearly trips over her. Brown's arm fires out and grabs Antigone's throat.  
  
ANTIGONE  
  
Self defence mechanism, cool.  
  
CUT TO. INT-HOTEL ROOM, BULLET TIME: Antigone grabs Brown's arm, twists and breaks it in one clean motion.  
  
CUT TO. INT-HOTEL ROOM, REAL TIME: Brown staggers back as Thomson and Johnson poise to attack. Antigone begins to fight the Agents with extreme ease and grace. She kicks Johnson through the window and Thomson out into the hall. Brown gets up. Antigone stares him down. Brown turns and walks away. Antigone's phone rings. 


	4. Going Home

CUT TO. INT-CONTROL ROOM, REAL WORLD: Turkish is on his headset while unplugging Hemmington.  
  
TURKISH  
  
I've got an exit for you, don't keep me waiting.  
  
ANTIGONE(V.O)  
  
Don't worry, I'm on my way.  
  
CUT TO. INT-HOTEL ROOM, DAY, MATRIX: Antigone hangs up her phone and puts it in her coat.  
  
CUT TO. INT-HOTEL ROOM, BULLET TIME: Antigone musters her strength.  
  
CUT TO. INT-HOTEL ROOM, REAL TIME: Antigone flies out the window she kicked Agent Johnson through. The few remaining shards are torn away. Antigone is now a small red dot on the horizon. A pair of legs clad in black leather pants enters the room. Camera moves up, a woman clenches a strong fist.  
  
CUT TO. EXT-MID AIR, DAY, MATRIX: Antigone flies through the sky. She dodges around a helicopter then flies stright down. She lands hard on a rooftop. In a small grey box is the sound of a phone ringing. Antigone opens the box and picks up the phone.  
  
CUT TO. INT-CONTROL ROOM, REAL WORLD: Turkish unplugs Antigone, she wakes up. Antigone sits up and looks around the room. Hemmington and Woo are looking at her, Turkish is standing behind her.  
  
HEMMINGTON  
  
Why didn't they try for you?  
  
ANTIGONE  
  
They did.  
  
WOO  
  
Not until after you provoked them.  
  
ANTIGONE  
  
I was testing their response.   
  
HEMMINGTON  
  
Why?  
  
ANTIGONE  
  
I wanted to know why they weren't going after me.  
  
INT-CONTROL ROOM: Hemmington begins to climb a ladder to the catwalk above.  
  
HEMMINGTON  
  
Well go to the Valhalla, then home. We'll figure something out by then.  
  
INT-CONTROL ROOM: The cockpit door slams shut. Antigone and Turkish stare at eachother for a while.  
  
CUT TO. EXT-TUNNELS, REAL WORLD, FIVE HOURS LATER: The sound of an electric engine fills the tunnel. A short while later the DIONYSUS roars past. It is a reletively long ship, about 100M long. It is plated in heavy steel. All over the ship's ventral side, part of the dorsal side and parst of the port and starboad sides are blue pads of electic energy the ship uses for propultion. The ship also carries a number of gun turrets and communication antannae. The Dionysus begins to slow down as it approaches a deep hole. The ship begins to coast down into the hole, scanning as it goes.  
  
CUT TO. INT-COCKPIT: Turkish is at the controls while Hemmington is seated beside him. They both stare intently out the window.  
  
HEMMINGTON  
  
Right spot yeah?  
  
TURKISH  
  
Right co-ordinates.  
  
INT-COCKPIT: Turkish's attention is drawn upwards by a flashing light.  
  
TURKISH  
  
Got em!  
  
HEMMINGTON  
  
Where?  
  
TURKISH  
  
About another 200M down, in a small enclave.  
  
CUT TO. EXT-TUNNELS: The Dionysus comes to a rest and hovers. The ship swites on forward facing search lights. In an enclave is another ship much like the Dionysus, though shorter, about 85M in length. It does, however, have more height than the Dionysus, about another 3M. This is the VALHALLA.  
  
CUT TO. INT-DIONYSUS, COCKPIT: Antigone walks in with Woo.  
  
ANTIGONE  
  
(to the Valhalla) Well hello there.  
  
HEMMINGTON  
  
T, get out the pipes well have to jump them from here.  
  
TURKISH  
  
Got it.  
  
ANTIGONE  
  
I'll help.  
  
INT-COCKPIT: Turkish and Antigone leave. Woo takes Tukish's seat.  
  
AUGUSTUS(V.O)  
  
Hemmy, where ya been?  
  
HEMMINGTON  
  
We've been out looking for your sorry asses.  
  
CUT TO. INT-VALHALLA, COCKPIT: Captain Augustus is standing over Ridley's shoulder, he is seated in a navagator's position. The Dionysus is hovering right in front of them. Helena and Donnatello are seated in the pilot and co-pilot's seats.  
  
AUGUSTUS  
  
Hurry up. Our heads will be on pikes in Atlantis if we're late.  
  
HEMMINGTON(V.O)  
  
We won't be late.  
  
CUT TO. EXT-TUNNELS, TWO HOURS LATER: The Dionysus flies past, it is followed by the Valhalla. The ships begin to slow down as they approach a massive, metal plate on the top of a dome.  
  
CUT TO. INT-DIONYSUS, COCKPIT: Hemmington is seated in the pilot's seat.  
  
HEMMINGTON  
  
This is the Dionysus and Valhalla requesting access into the docks.  
  
CUT TO. EXT-TUNNELS: Four energy beams emmit from various points on the metal plate. They scan the two ships. The plate begins to split into quarters. The ships begin to descend into the opening.  
  
CUT TO. INT-DOCKS, UPPER LEVELS: The Dionysus and Valhalla are descending down into the underground city of Atlantis. Below the ships are many docking bays, about fifty. The docks are neary filled to capacity. The Valhalla and Dionysus seperate. The shield closes above them.  
  
CUT TO. INT-DIONYSUS, COCKPIT: Hemmington stears the ship around the dock.  
  
(V.O)  
  
Dionysus you are cleared for bay 13.  
  
HEMMINGTON  
  
Understood.  
  
CUT TO. INT-DOCKS: The Dionysus passes over several ships before arriving at an empty bay. The ship begins to settle down. Landing gear extend out from the ship's ventral side. After a short while of hovering, the ship touches down.  
  
CUT TO. INT-DIONYSUS, COCKPIT: Hemmington activates a communications panel as he unstraps his harnesses.  
  
HEMMINGTON  
  
Welcome home weary travellers.  
  
CUT TO. INT-DIONYSUS, HALLWAY: The hall is short and plated in heavy metal. Four doors cover the length of either side at about four feet apart. One door flies open. Turkish stammers out, his clothes are tattered and offset. Antigone steps out soon after, and her clothes are no better.  
  
CUT TO. INT-CONTROL ROOM: Antigone and Turkish walk in. Woo is standing with a large bag slung over his shoulder. Turkish walks over to his computers and shuts them down. Hemmington enters with a sack like Woo's. He walks over to a control panel and enters in a few commands. He briefly notices Antigone and Turkish's states, but says nothing and smiles mockingly instead. The wall in front of the crew begins to move down into a walkway. When it is fully deployed the crew begins to walk down it.  
  
CUT TO. INT-DOCKS: Hemmington is the first to arrive on the dock's surface. He looks around, relived to be home. The docks are bustling with people and activities, most of which are dedicated to maintainence and supplies for the ships. From out of nowhere, two children both girls, about 5 years old and 8, run up to Hemmington. These are CARRIE, 8, and ANNE, 5. They are Hemmington's children.  
  
CARRIE & ANNE  
  
Daddy!  
  
HEMMINGTON  
  
Look who it is! Though you know you're not supposed to be here.  
  
ANNE  
  
Mom said we could.  
  
HEMMINGTON  
  
She did?  
  
CARRIE  
  
Sure did.  
  
HEMMINGTON  
  
Well, she'd know right? Is she at work?  
  
ANNE  
  
Sure is.  
  
HEMMINGTON  
  
Let's go say hi then.  
  
INT-DOCKS: Hemmington throws his bag to Turkish then picks up Anne.  
  
HEMMINGTON  
  
Just hang on to that for now lover boy. Say bye by to Daddy's crew.  
  
ANNE  
  
Bye bye crew.  
  
INT-DOCKS: Hemmington and his kids walk away. Turkish begins to walk with Antigone and Woo down the dock. He is having a hard time seeing until he slings the bag over his shoulder.  
  
ANTIGONE  
  
When's the meeting?  
  
WOO  
  
Couple of hours. Captains and crew's only.  
  
TURKISH  
  
I think you'll like what they have to say.  
  
ANTIGONE  
  
We'll see.  
  
INT-DOCKS: Woo stops in his tracks and looks down the dock. Standing there and giving him the evil eye is NATALIYA, a young woman who is Woo's girlfriend. Woo nods his head and turns back to Antigone and Turkish.  
  
WOO  
  
I have to go.  
  
TURKISH  
  
Good luck.  
  
ANTIGONE  
  
Seems that you'll need it.  
  
INT-DOCKS: Woo begins to walk backwards and talk to Antigone and Turkish.  
  
WOO  
  
See you at the meeting!  
  
INT-DOCKS: Turkish waves bye. Woo leaves. Antigone and Turkish continue their walk.  
  
CUT TO. INT-HARBOUR CONTROL CENTRE: The room is a large circle, about 80M in diameter. It is built on three levels. People are going about their business in various ways, barking orders, absorbing them etc... From a metal door at the back, Hemmington, Anne and Carrie enter. Hemmington scans the room and spots a woman standing in the center, she appears to be in command. This is ALISON HEMMINGTON. She is a tall, confident looking woman with red hair. She works as the city's harbour master. Hemmington looks down to her. She senses his presence and looks to him and smiles. Hemmington moves down to her and she to him. They meet in the middle of the room and embrace. Their embrace breaks to say hello to their children.  
  
HEMMINGTON  
  
You of all people should know that the docks are no place for kids.  
  
ALISON  
  
Hey I was only ten when I started work and...  
  
HEMMINGTON  
  
Shut up.  
  
INT-CONTROL CENTRE: Hemmington pulls her in close for a long kiss. Many people in the room stop their work and stare. They break off. Alison looks to her co-workers.  
  
ALISON  
  
Don't you have work to do?  
  
INT-CONTROL CENTRE: The people go back to work. Alison takes one young man to her side. This ZANE. He is a man of about 25 years, tall and rugged.  
  
ALISON  
  
Zane, you've got the fort. I'm going home for a while.  
  
ZANE  
  
Right.  
  
INT-CONTROL CENTRE: Hemmington, Alison, Anne and Carrie leave. 


End file.
